Parvatī, the consort of Śiva
Of all the consorts of Śiva the one that is aristically and lovingly the most celebrated is Parvatī. Unlike Durgā and Kalī who assume their own independent religious status in the Hindu pantheon and are worshipped and venerated ritually, Parvatī engages the greater attention of the poets and painters, musicians and dancers. Numerous are her aspects, varied persona, multiple attributes and many her names. Of all the mythic beings in the Hindu pantheon she is perhaps the most loved one.
As a young girl, daughter of the mountain king Parvat and mother Mena, she is demure and charming. As a young woman she grows into unsurpassed grace and elegance and is the embodiment of perfect sensual beauty, a sundari. In her courtship with the reticent Śiva she is the epitome of tapasya, penance, and is Parvatī tapasvini. As Śiva’s consort she becomes his vama and ardhangini. In her affection towards her two sons Ganeśa and Kartikeya she is the loveing mother. As his constant companion she leads Śiva to perfect knowledge and becomes Parvatī vimarshini. As a provider to the medicant Śiva she Annapoorna. As Minakshi and Gauri she offers herself to the devout Śiva bhakta. And in combining all these diverse roles ahe is Parvatī yogini.
Mythology:
The story of Parvatī’s life, as for all Hindus begins even before she is born.
After Śiva’s first consort Sati had immolated herself, he completely withdrew from the worldly life. The gods remained concerned at Śiva’s uninvolvement with the world and his indifference to the ravages that the demon Taraka was unleashing on the three worlds. The gods approached Aditī, the mother of all. She agreed to enter the womb of Mena, the wife of the mountain king Parvat. Parvatī was born at the midnight in the season of spring. The child was name Kalī and grew beautiful day by day and fondly attached to the entire town, it was thus that she was called Parvatī.
Even as a child she knew she was to marry Śiva and did severe penance. At an appropriate time king Parvat approached the sage Narada and asked him to read Parvatī’s fortune. Narada on reading predicted that she was to marry a naked ascetic but assured that he would be none other than Śiva himself and revealed Parvatī’s past life. Mena however, was apprehensive. Parvat told her that he had a dream that Śiva arrived at Aushadiprastha to practice austerities and had a discourse with thire daughter Parvatī, where he expounded the magnificient Vedanta. Śiva asked Parvat to keep his beautiful daughter away from him as woman is an illusion, Māyā. On hearing this Parvatī addressed to the Lord and explained that the energy behind every activity was the matter-Prakŗti, and that it is prakŗti that creates, sustains and destroys everything that is embodied. Parvatī explained that while Śiva was the pristine Purusha, she was the primordial Prakŗti – the Samkhya doctrine.
The dream came true. But Śiva continued his solitary inward meditation. And Parvatī with her severe austerities as she was also a tapasvini, knew too well that sadhana or spiritual effort would be complete without tapasya.
The gods in despair approached Kama, the god of love and desire to shoot arrows of love to Śiva. Kama took up his bow and shot five arrows made of aravindam, ashoka, chutam, navamallika and nilotphalla flowers. Kama’s arrows awoke Śiva from his meditation and his anger burnt Kama to ashes. But by this time, Śiva’s desired for Parvatī. However to test Parvatī, he disguised himself and tried to convince Parvatī not to marry Śiva. But Parvatī refused to agree. Seeing her devotion, Siva revealed his true identity and married Parvatī.
Mahişāsurmardinī-Durgā
The origin of Mahişāsurmardinī-Durgā is as mysterious as her rise to the status of Mahādevī or Mahāsurī. Some scholars have attempted to trace her origin from the cult of Mother Goddess of the pre-vedic society, where mother was all powerful. She was however more than that; she became the proto-type of the cosmic energy (Prakŗti). The worship of the Mother Goddess of the matriarchal society in the pre-vedic society virtually formed the nucleus of the later Śāktism.
Of all the consorts of Śiva the one that is aristically and lovingly the most celebrated is Parvatī. Unlike Durgā and Kalī who assume their own independent religious status in the Hindu pantheon and are worshipped and venerated ritually, Parvatī engages the greater attention of the poets and painters, musicians and dancers. Numerous are her aspects, varied persona, multiple attributes and many her names. Of all the mythic beings in the Hindu pantheon she is perhaps the most loved one.
As a young girl, daughter of the mountain king Parvat and mother Mena, she is demure and charming. As a young woman she grows into unsurpassed grace and elegance and is the embodiment of perfect sensual beauty, a sundari. In her courtship with the reticent Śiva she is the epitome of tapasya, penance, and is Parvatī tapasvini. As Śiva’s consort she becomes his vama and ardhangini. In her affection towards her two sons Ganeśa and Kartikeya she is the loveing mother. As his constant companion she leads Śiva to perfect knowledge and becomes Parvatī vimarshini. As a provider to the medicant Śiva she Annapoorna. As Minakshi and Gauri she offers herself to the devout Śiva bhakta. And in combining all these diverse roles ahe is Parvatī yogini.
Mythology:
The story of Parvatī’s life, as for all Hindus begins even before she is born.
After Śiva’s first consort Sati had immolated herself, he completely withdrew from the worldly life. The gods remained concerned at Śiva’s uninvolvement with the world and his indifference to the ravages that the demon Taraka was unleashing on the three worlds. The gods approached Aditī, the mother of all. She agreed to enter the womb of Mena, the wife of the mountain king Parvat. Parvatī was born at the midnight in the season of spring. The child was name Kalī and grew beautiful day by day and fondly attached to the entire town, it was thus that she was called Parvatī.
Even as a child she knew she was to marry Śiva and did severe penance. At an appropriate time king Parvat approached the sage Narada and asked him to read Parvatī’s fortune. Narada on reading predicted that she was to marry a naked ascetic but assured that he would be none other than Śiva himself and revealed Parvatī’s past life. Mena however, was apprehensive. Parvat told her that he had a dream that Śiva arrived at Aushadiprastha to practice austerities and had a discourse with thire daughter Parvatī, where he expounded the magnificient Vedanta. Śiva asked Parvat to keep his beautiful daughter away from him as woman is an illusion, Māyā. On hearing this Parvatī addressed to the Lord and explained that the energy behind every activity was the matter-Prakŗti, and that it is prakŗti that creates, sustains and destroys everything that is embodied. Parvatī explained that while Śiva was the pristine Purusha, she was the primordial Prakŗti – the Samkhya doctrine.
The dream came true. But Śiva continued his solitary inward meditation. And Parvatī with her severe austerities as she was also a tapasvini, knew too well that sadhana or spiritual effort would be complete without tapasya.
The gods in despair approached Kama, the god of love and desire to shoot arrows of love to Śiva. Kama took up his bow and shot five arrows made of aravindam, ashoka, chutam, navamallika and nilotphalla flowers. Kama’s arrows awoke Śiva from his meditation and his anger burnt Kama to ashes. But by this time, Śiva’s desired for Parvatī. However to test Parvatī, he disguised himself and tried to convince Parvatī not to marry Śiva. But Parvatī refused to agree. Seeing her devotion, Siva revealed his true identity and married Parvatī.
Mahişāsurmardinī-Durgā
The origin of Mahişāsurmardinī-Durgā is as mysterious as her rise to the status of Mahādevī or Mahāsurī. Some scholars have attempted to trace her origin from the cult of Mother Goddess of the pre-vedic society, where mother was all powerful. She was however more than that; she became the proto-type of the cosmic energy (Prakŗti). The worship of the Mother Goddess of the matriarchal society in the pre-vedic society virtually formed the nucleus of the later Śāktism.
Durgā finds mention in the Taittirīya Āraņyaka, but not as a warrior goddess. The connotation of the word ‘Durgā’ are the demon Durga, great danger, impediments of the world, evil deeds, grief, worries, hell punishment of Yama, birth, fear and disease. The term is used in sense of killing. Since the Devī kills or removes all these is known as Durgā.
There are two hymns in the Khila-Rātri-Sūkta which refer to the goddess Durgā. The three deities, namely Vāc-Sarasvatī, Rātri and Śrī of the Sūkta are the three important manefaetations of Śakti as Mahākālī, Mahālakşmi and Mahā-Sarasvatī.
The Śaktā Upanişads enhanced the status of the goddess to an unprecedented degree in a philosophical garb. The Devī UpanişadI relates directly to the personification of Śakti such as Durgā, Mahālakşmi, Sarasvatī and Vaişņavī depicting as Brahmasvarūpiņī.
Pushpendra Kumar observes in “Śakti cult in Ancient India” that: she is infinite, unborn, incomprehensible and one because of her omnipresence. She is also not one as she is the whole universe. She is verily the Brahman and hence she is called in contradictions, being and not being all this universe, gods and all that exists. That, beyond which there is nothing, is Durgā. She is three-eyed and wears red garments. She is all compassion. She takes one beyond the ocean of births and deaths.
In the epics we get clear traces of Durgā though the goddess did not appear to have independent cult of her own. In the Rāmāyaņa she bears the epithet of Devī revered by all. She is always considered as the consort of Śiva having the names Girijā and Umā. In this we come across an interesting epithet of Simihikā noticed by Hanumān in the ocean. There is a tradition in the later Rāmāyaņa that Rāmchandra celebrated autumn worship of the goddess Durgā. The tradition has historical authenticity as several Purāņas of later date quote it in different ways.
During the time of Mahābhārata the role of Durgā is very conspicuous. Two hymns addressed to Durgā, one by Arjuna and other by Yudhişţhira bring to light her both Śaivite and Vaşņavite characters. In the Bhīşma Parva of the Mahābhārata we come across the hymn in the form of a prayer to Durgā, where Arjuna invokes the leader of the Siddhas. Yudhişţhira in the Virāţa Parva invokes the goddess Durgā as the sister of Hari to remove danger.
Mythology:
The account of the origin of the goddess Mahişāsurmardinī-Durgā in Devī-Māhātmya of the Mārkaņdya Purāņa describes that the gods were defeated in a great battle by the Asuras which lasted for over 100 years when Mahisha was the king of the asuras and Indra of the gods. Then the vanquished gods, placing Prajāpati Brahmā as thair head, went to Śiva and Vişņu and narrated to them the entire episode of their defeat and miseries.
Having heard the story from the bodies of the krodhit (angry) gods – Śiva, Vişņu, Brahmā, Indra and other gods was emitted great energy, which pervaded the three worlds with its lights, gathering into one, becoming a female. In Vāmana Purāņa she has been called Kātyāyanī, as she emerged from the āśrama of Sage Kātyāyanā. In chapter 22 however of the Vāmana Purāņa the incarnation of the Great Goddess in the form of Kausiki for slaying the demons Śumbha and Niśumbha. She was according to the text produced from the sheath of Pārvatī and became to be known as Kausiki.
In the Devī Bhāgavata Purāņa the gods inform Vişņu that only a female could be the cause of the death of the demon. Thereafter she was born with eighteen arms, three eyes, a shining face, red lips and was bedecked with all jewellery and ornaments. All the gods presented their weapons to her. The formation of the human form of the goddess, therefore, is ascribable to the following gods:-
Śiva’s energy face
Agni’s energy three-eyes and long hair
Vişņu’s energy arms
Moon’s energy two breasts developed
Indra’s energy waist came into being
Varuņa’s energy her legs and thighs were formed
Earth’s energy her hips appeared
Brahmā’s energy her feet and toes were formed
Kūbera’s energy her nose was formed
Vayū’s energy her ears were formed
Prajāpati’s energy her teeth
Sun’s energy her hands and fingers were made
There are two hymns in the Khila-Rātri-Sūkta which refer to the goddess Durgā. The three deities, namely Vāc-Sarasvatī, Rātri and Śrī of the Sūkta are the three important manefaetations of Śakti as Mahākālī, Mahālakşmi and Mahā-Sarasvatī.
The Śaktā Upanişads enhanced the status of the goddess to an unprecedented degree in a philosophical garb. The Devī UpanişadI relates directly to the personification of Śakti such as Durgā, Mahālakşmi, Sarasvatī and Vaişņavī depicting as Brahmasvarūpiņī.
Pushpendra Kumar observes in “Śakti cult in Ancient India” that: she is infinite, unborn, incomprehensible and one because of her omnipresence. She is also not one as she is the whole universe. She is verily the Brahman and hence she is called in contradictions, being and not being all this universe, gods and all that exists. That, beyond which there is nothing, is Durgā. She is three-eyed and wears red garments. She is all compassion. She takes one beyond the ocean of births and deaths.
In the epics we get clear traces of Durgā though the goddess did not appear to have independent cult of her own. In the Rāmāyaņa she bears the epithet of Devī revered by all. She is always considered as the consort of Śiva having the names Girijā and Umā. In this we come across an interesting epithet of Simihikā noticed by Hanumān in the ocean. There is a tradition in the later Rāmāyaņa that Rāmchandra celebrated autumn worship of the goddess Durgā. The tradition has historical authenticity as several Purāņas of later date quote it in different ways.
During the time of Mahābhārata the role of Durgā is very conspicuous. Two hymns addressed to Durgā, one by Arjuna and other by Yudhişţhira bring to light her both Śaivite and Vaşņavite characters. In the Bhīşma Parva of the Mahābhārata we come across the hymn in the form of a prayer to Durgā, where Arjuna invokes the leader of the Siddhas. Yudhişţhira in the Virāţa Parva invokes the goddess Durgā as the sister of Hari to remove danger.
Mythology:
The account of the origin of the goddess Mahişāsurmardinī-Durgā in Devī-Māhātmya of the Mārkaņdya Purāņa describes that the gods were defeated in a great battle by the Asuras which lasted for over 100 years when Mahisha was the king of the asuras and Indra of the gods. Then the vanquished gods, placing Prajāpati Brahmā as thair head, went to Śiva and Vişņu and narrated to them the entire episode of their defeat and miseries.
Having heard the story from the bodies of the krodhit (angry) gods – Śiva, Vişņu, Brahmā, Indra and other gods was emitted great energy, which pervaded the three worlds with its lights, gathering into one, becoming a female. In Vāmana Purāņa she has been called Kātyāyanī, as she emerged from the āśrama of Sage Kātyāyanā. In chapter 22 however of the Vāmana Purāņa the incarnation of the Great Goddess in the form of Kausiki for slaying the demons Śumbha and Niśumbha. She was according to the text produced from the sheath of Pārvatī and became to be known as Kausiki.
In the Devī Bhāgavata Purāņa the gods inform Vişņu that only a female could be the cause of the death of the demon. Thereafter she was born with eighteen arms, three eyes, a shining face, red lips and was bedecked with all jewellery and ornaments. All the gods presented their weapons to her. The formation of the human form of the goddess, therefore, is ascribable to the following gods:-
Śiva’s energy face
Agni’s energy three-eyes and long hair
Vişņu’s energy arms
Moon’s energy two breasts developed
Indra’s energy waist came into being
Varuņa’s energy her legs and thighs were formed
Earth’s energy her hips appeared
Brahmā’s energy her feet and toes were formed
Kūbera’s energy her nose was formed
Vayū’s energy her ears were formed
Prajāpati’s energy her teeth
Sun’s energy her hands and fingers were made
To her, the gods gave the following attributes:-
Śiva a Trident
Agni a Dart
Vişņu a Discus
Indra a Thunder Bolt and a Bell6
Varuņa a Conch
Brahmā a Rosary and a Water pot (Kamandula)
Kūbera a Mace
Vayū a Bow
Surya a Quiver and Arrows
Kāla a Sword and a Shield
Himavān a Lion
Visvakarmā a Battle Axe
Yama a Staff
Kālī
Of the many manifestations of the Mahadevī, her ten terrific forms, together known as Daśamahāvidyās, are very important. The Mahābhāgavata Purāņa writes Etah sarvah prakŗşţah mūrtayah vahumūrttişu (from the numerous ramifications of Devī daśamahāvidyās are the greatest). According to the Cāmuņdā Tantra Daśamahāvidyās are;
Kālītārā mahāvidyā şodaśi bhuvaneśvarī
Bhairavī Chinnamastā ca Mātāngī Kamalātmikā/
Dhūmāvati ca Vagalā Mahāvidyāh Prakīrtitāh//
Kālī and Tārā are known as Mahāvidyās, Şodaśi, Bhuvaneśvarī,Bhairavī Chinnamastā as Vidyās and Vagalā, mātańgī and Kamalā as Siddhavidyās. Purņas contains an interesting story with regard to the origin of Mahāvidyās. The story runs that Dakşa arranged a yajña and invited all gods and goddesses except his daughter Satī and her husband Mahādeva. Satī was shocked at the unpleasant behaviour of her father, but attempted to persuade Śiva to accompany her to Dakşa’s house or to permit her to go alone. Despite her repeated request Siva denied her to go. Devī requested that if she was not treated properly by her father she would sacrifice herself in the yajña. Mahādeva remained firm in his decision. So did Satī. At this stage the enraged Devī assumed a terrible form and decided to teach a lesson to her husband, Siva. She appeared before him in a fierce posture roaring loudly, looking effulgent with the rays of thousand suns, decked with garland of skulls and with disheveled hair. Śiva was terrified to see such a dreadful appearance of Devī and attempted to flee away. But she covered all the ten directions with her ten forms. This form of Devī came to be known as Daśamahāvidyās. She is black and fearful,; she is Mahāprakŗti, destroyer of the universe.
Mythology:
Kālī or Mahālī, the first Mahāvidyā, is the most popular deity in India. The origin of this goddess, who in later phase became widely accepted as tantric goddess, dates back to the vedic period. In the seven tongue or flames of Agni, Kālī stands first. Kālī is again known as Rātri Devī or kālrātri. In the vedic literature she is associated with another ferocious demoness Niŗtti as both of them are black in complexion, cause distress and death, dreadful war goddesses surviving on enemy’s blood.
In Durgā Saptaśatī Cāmuņdā is called Kālī. The story of this text relates that Canda and Muņda, the two allies of Śumbha and Niśumbha attempted to kidnap Ambikā her face turned to dreadful countenance. At that moment Kālī appeared in a dreadful form with mouth wide open, shrunken belly, droopy eyes, decked in tiger’s skin, garland of human heads shouting in lion’s roar. This goddess Cāmuņdā born from the fury of Durgā in the battle field has the independent status unlike other Mātrikās born from other important gods bearing their characteristic features.
In yet another mythological narration Kālī is said to be the black complexioned daughter of the mountain king Pārvat from his queen Mena born on the midnight in the spring season. She practiced severe austerities to win Śiva as her husband. After her marriage with Śiva when one day he teased her as Kālī, that is black-complexioned, she felt insulted. Immediately she left kailāsh and went to perform penance to win a boon. Satisfied with her Brahmā gave her the boon to be the fair-complexioned Gaurī.
The Lińga Purāņa gives an interesting legend wherein Kālī was created to kill a demon named Dāruka who beacame very powerful through severe penance. Brahmā offered him a boon making him all powerful. He was to be killed by a woman alone. Pārvatī took the task of killing him. Instantly she entered the body of Śiva and created her body within by drinking poison from his neck. When Mahādeva knew her gradual growth in his own body he emitted her through his third eye. The created goddess came to be known as Vişakālī or Nīlakaņţhī. She was dreadful in appearance, three-eyed, armed with a trident and snakes.
In the Vilamkā Rāmāyaņa of the 15th century AD Kālī has been beautifully described. Rāmchandra boasted of his prowess by killing the ten-headed Rāvaņa; Sītā smiled at Rāma’s pride and challenged, could he kill thousand headed Rāvaņa? Ra accepted but to his misery he lost the battle and cried in misery. Sītā appeared at this critical moment in the dreadful form of Kālī and killed the demon king and started dancing in her war cry. Her dance was so fierce that the whole universe started shaking for its roots. The Gods got scared and approached Śiva, who presented himself before her as a dead body. Brhamā immediately pointed out to her that her husband Śamkara was lying below her feet. When she identified Śiva she looked aghast, lolled out her tongue and stopped her terrific dance.
Saptamātŗkās
Mythology:
The Mahābhata relates that after the annihilation of the demon king Hiraņyakaśipu by Narasimha-Vişņu, his son Prahlāda, a devoet devotee of Visnu renounced the worldly life; Andhkāsura became the chief of the demons. To obtain unlimited power and strength he invested in severe austerities, which made him invincible to the gods. The gods went to Kailash to Lord Śiva. While Śiva was listening to them paitently, Andhkāsura appeared suddenly and attempted to snatch way Pārvatī, which in turn cursed him as he was to die if he lies evil eyes on someone like his mother and since he was born out of andhkār created by Pārvatī when she had earlier once closed Śiva’s eyes. Siva instantly charged him and injured him with Paśupata weapon. Blood drops from the demon when touched the earth, arose many more Andhkāsuras. Siva was at fix. All the gods then combined their energies and created their Śakti’s to assist śiva in his battle.. the ferocious goddesses devoured up every drop of blood gushed out of the wounds of the demon and finally killed him.
According to the Mārkaņdeya Purāna, the Mātŗkās were created to assist Ambikā to kill Raktavīrya, the most powerful ally of the demon-king Sumbha and Niśumbha. In both the cases, the Mātŗkās were created so as not to allow drops of blood falling on the ground.
Another version of the story regard to the killing of Andhkāsura by śiva, occurs in Matsya Purāņa. Here after the death of the demon king the Mātŗkās continues to destroy the universe. Śiva then seeks the help of Narasimha, who creates 32 divine mothers more powerful and formidable than the previous ones. These divine mothers appear in a way that none could stand the flash of wrath emanating from their eyes. All the Mātŗkās then took refuge in Narasimha, who advised them to foster and guard the universe as men and animals look after their children. The same version is repeated in the Kūrma Purāņa with the inclusion of the malevolent Bhairava.
Brahmāņī
Brahmā
Mada (desire)
Ladle in her right hand
Hamsa
Kālī or Mahālī, the first Mahāvidyā, is the most popular deity in India. The origin of this goddess, who in later phase became widely accepted as tantric goddess, dates back to the vedic period. In the seven tongue or flames of Agni, Kālī stands first. Kālī is again known as Rātri Devī or kālrātri. In the vedic literature she is associated with another ferocious demoness Niŗtti as both of them are black in complexion, cause distress and death, dreadful war goddesses surviving on enemy’s blood.
In Durgā Saptaśatī Cāmuņdā is called Kālī. The story of this text relates that Canda and Muņda, the two allies of Śumbha and Niśumbha attempted to kidnap Ambikā her face turned to dreadful countenance. At that moment Kālī appeared in a dreadful form with mouth wide open, shrunken belly, droopy eyes, decked in tiger’s skin, garland of human heads shouting in lion’s roar. This goddess Cāmuņdā born from the fury of Durgā in the battle field has the independent status unlike other Mātrikās born from other important gods bearing their characteristic features.
In yet another mythological narration Kālī is said to be the black complexioned daughter of the mountain king Pārvat from his queen Mena born on the midnight in the spring season. She practiced severe austerities to win Śiva as her husband. After her marriage with Śiva when one day he teased her as Kālī, that is black-complexioned, she felt insulted. Immediately she left kailāsh and went to perform penance to win a boon. Satisfied with her Brahmā gave her the boon to be the fair-complexioned Gaurī.
The Lińga Purāņa gives an interesting legend wherein Kālī was created to kill a demon named Dāruka who beacame very powerful through severe penance. Brahmā offered him a boon making him all powerful. He was to be killed by a woman alone. Pārvatī took the task of killing him. Instantly she entered the body of Śiva and created her body within by drinking poison from his neck. When Mahādeva knew her gradual growth in his own body he emitted her through his third eye. The created goddess came to be known as Vişakālī or Nīlakaņţhī. She was dreadful in appearance, three-eyed, armed with a trident and snakes.
In the Vilamkā Rāmāyaņa of the 15th century AD Kālī has been beautifully described. Rāmchandra boasted of his prowess by killing the ten-headed Rāvaņa; Sītā smiled at Rāma’s pride and challenged, could he kill thousand headed Rāvaņa? Ra accepted but to his misery he lost the battle and cried in misery. Sītā appeared at this critical moment in the dreadful form of Kālī and killed the demon king and started dancing in her war cry. Her dance was so fierce that the whole universe started shaking for its roots. The Gods got scared and approached Śiva, who presented himself before her as a dead body. Brhamā immediately pointed out to her that her husband Śamkara was lying below her feet. When she identified Śiva she looked aghast, lolled out her tongue and stopped her terrific dance.
Saptamātŗkās
Mythology:
The Mahābhata relates that after the annihilation of the demon king Hiraņyakaśipu by Narasimha-Vişņu, his son Prahlāda, a devoet devotee of Visnu renounced the worldly life; Andhkāsura became the chief of the demons. To obtain unlimited power and strength he invested in severe austerities, which made him invincible to the gods. The gods went to Kailash to Lord Śiva. While Śiva was listening to them paitently, Andhkāsura appeared suddenly and attempted to snatch way Pārvatī, which in turn cursed him as he was to die if he lies evil eyes on someone like his mother and since he was born out of andhkār created by Pārvatī when she had earlier once closed Śiva’s eyes. Siva instantly charged him and injured him with Paśupata weapon. Blood drops from the demon when touched the earth, arose many more Andhkāsuras. Siva was at fix. All the gods then combined their energies and created their Śakti’s to assist śiva in his battle.. the ferocious goddesses devoured up every drop of blood gushed out of the wounds of the demon and finally killed him.
According to the Mārkaņdeya Purāna, the Mātŗkās were created to assist Ambikā to kill Raktavīrya, the most powerful ally of the demon-king Sumbha and Niśumbha. In both the cases, the Mātŗkās were created so as not to allow drops of blood falling on the ground.
Another version of the story regard to the killing of Andhkāsura by śiva, occurs in Matsya Purāņa. Here after the death of the demon king the Mātŗkās continues to destroy the universe. Śiva then seeks the help of Narasimha, who creates 32 divine mothers more powerful and formidable than the previous ones. These divine mothers appear in a way that none could stand the flash of wrath emanating from their eyes. All the Mātŗkās then took refuge in Narasimha, who advised them to foster and guard the universe as men and animals look after their children. The same version is repeated in the Kūrma Purāņa with the inclusion of the malevolent Bhairava.
Brahmāņī
Brahmā
Mada (desire)
Ladle in her right hand
Hamsa
Māheśvarī
Māheśvara
Krodha (anger)
Trisula (Trident )
Bull
Kaumārī
Kaumār
Moha (Illusion)
Spear
Peacock
Vaişņavāi
Vişņu
Lobha (greed)
Mace
Kneeling Garuda
Vārāhī
Vārāha
Asuya
Daņda-dhāriņi
Mahiş
Indrāņī
Indra
Mātsarya (aristrocracy)
Vajra
Elephant
Cāmuņdā
Paiśunya (malignity)
Preta
In the Varaha Purāņa the story of Andhakāsura and Mātŗkās has allegorical meaning. The Mātŗkās represent Ātma-vidyā or spiritual wisdom against Andhakāra, the darkness of ignorance (the Apasmāra, the dwarf of ignorance whom śiva as Natrāja destroys under is foot). Siva represents Vidyā fighting against the darkness avidyā. The more this is attempted to be attacked by vidyā, the kore does it tend to increase for a time; this fact is represented by the multiplication of the figures of Andhkura. Unless the eight evil qualities like kāma, krodha etc. are completely brought under control of vidyā and kept under retraint, it can never succeed in putting down andhkāra.
Meaning
Philosophical: “As śakti, prakŗti and māyā, the Devī is portrayed as an overwhelming presence that overflows itself, spilling forth into the creation, suffusing the world with vitality, energy and power. When the Devī is identified with these philosophical ideas, then a positive point is being made: the Devī creates the world, she is the world, and she is not understood so much as binding cratures to finite existence as being the very source and vitality of creatures. She is the source of creatures – their mother-and as such her awesome, vital power is revered.”*
The idea of Brahman is another central idea with which the Devī is associated. In the Upanişads, and throughout the Hindu tradition, Brahman is described in two ways: as nirguņa (having no quality or beyond all qualities) and saguņa (having qualities). As nirguņa, which is usually affirmed to be the superior way of thinking about Brahman, ultimate reality transcends all qualities, categories and limitations. As nirguņa, Brahman transcends all attempts to circumscribe it. It is beyond all name and form (nāma-rūpa). As the ground of all things, as the fundamental principle of existence, however, Brahman is also spoken of as having qualities, indeed, as manifesting itself in a multiplicity of deities, universe and beings. As saguņa Brahman reveals itself especially as the various deities of the Hindu pantheon. The main philosophical point asserted in the idea of saguņa Brahman is underlying all the different gods is unifying essence, namely, Brahman. Each individual deity is understood to be partial manifestation of Brahman, which ultimately is beyond all specifying attributes, functions and qualities.
The idea of Brahman serves well the attempts in many texts devoted to the Devī to affirm her supreme position in Hindu pantheon. The idea of Brahman makes two central philosophical points congenial to the theology of Mahādevī: (1) she is ultimate reality itself, and (2) she is the source of all divine manifestations, male and female (but especially female). As saguņa Brahman, the Devī is portrayed as a great cosmic queen enthroned in highest heaven, with a multitude of deities as agents through which she governs the infinite universes.
She is not just an icon to be worshipped; an art object to be curated in a museum, a symbol to be decoded, a metaphor to be pried open, an ancient goddess that is an anthropological curiosity, a goddess whose marriage is a sociological analysis. Perhaps she is all of this but she is much more than the sum of those disciplines. She is chit, our very being, she śakti or the energy that animates us and the world around us; her presence is a doorway to anada or bliss; she is the very embodiment of isaundarya or beauty; not just sensuous but spiritual, a spandana or throb of knowledge through which we seek our own self.
The Kashmir Śaivism, which is strongly advaitic or non-dualistic in nature postulates an unique epistemology or system of knowledge from which emerges a world-view that has underpinned Indian aesthetics for the last millennium. The chitanada (or joyous self-awareness) for the Kashmir Śaivite leads the individual from ‘aham’, “I am” to the initial realization ‘aham idam’, “I am myself”, and then to the ultimate realization ‘aham evam vishvarupam’ “I am the entire world.” In the word ‘aham’, ‘a’ stands for Śiva (puruşa), ‘h’ stand for Pārvatī (prakŗti) and ‘m’ is the bindu or the anusvara. In chanting ‘aham’ one is not only asserting the togetherness of the two elements – puruşa and prakŗti but equally realizing that it is Pārvatī, prakŗti who herself brings the chant to a point of stillness through the bindu.
Practical: The famous astro-physicist Stephen Hawking argues that the universe is created from the gravitational attraction between the (active) matter and the (inactive) non-matter. The non-matter is a residue of the matter, which created distance because of repulsion due to their natural characteristic. As and when the condition changed and they by chance came closer the gravitational force attracted them towards each other and from there Big Bang took place, creating the Universe.
I take the liberty to assume that the presence of the matter and the non-matter together is well represented in the story of Ardhanariśvara; then the separation follows eventually leading to the gravitational attraction of the two opposite nature, as propounded by the Samkhya philosophy of (sexual) duality of conscious (puruşa) and unconscious (prakŗti) elements.
The essence of everything in this universe was Prakŗti, which ‘is inherent in everything but has no shape of its own. It has neither beginning nor end.’ It is the Nature and, exists even without any name or forms (nama-rūpā) as steam exists in water, fire exist in spark. It needs an external inactive force (puruşa) – fire to boil water to create steam and; air to blow spark to produce fire.
According to this practical philosophy, the body was like a plant which germinated from, the seed, grew spread and then withered away; yet, something remained. The seed disappeared from view but produced another plant. The seeds germinated due to the rains but what grew depended on the seed alone; that is, only paddy grew from paddy, not wheat. For a man, a seed was like his karma (action or doing) and Īśvara or God was like the rain, which was the cause of the growth of the plant. A logical inference from this principle was that the Samsār (a chain of appearances) had neither a beginning nor an end.
Philosophical: “As śakti, prakŗti and māyā, the Devī is portrayed as an overwhelming presence that overflows itself, spilling forth into the creation, suffusing the world with vitality, energy and power. When the Devī is identified with these philosophical ideas, then a positive point is being made: the Devī creates the world, she is the world, and she is not understood so much as binding cratures to finite existence as being the very source and vitality of creatures. She is the source of creatures – their mother-and as such her awesome, vital power is revered.”*
The idea of Brahman is another central idea with which the Devī is associated. In the Upanişads, and throughout the Hindu tradition, Brahman is described in two ways: as nirguņa (having no quality or beyond all qualities) and saguņa (having qualities). As nirguņa, which is usually affirmed to be the superior way of thinking about Brahman, ultimate reality transcends all qualities, categories and limitations. As nirguņa, Brahman transcends all attempts to circumscribe it. It is beyond all name and form (nāma-rūpa). As the ground of all things, as the fundamental principle of existence, however, Brahman is also spoken of as having qualities, indeed, as manifesting itself in a multiplicity of deities, universe and beings. As saguņa Brahman reveals itself especially as the various deities of the Hindu pantheon. The main philosophical point asserted in the idea of saguņa Brahman is underlying all the different gods is unifying essence, namely, Brahman. Each individual deity is understood to be partial manifestation of Brahman, which ultimately is beyond all specifying attributes, functions and qualities.
The idea of Brahman serves well the attempts in many texts devoted to the Devī to affirm her supreme position in Hindu pantheon. The idea of Brahman makes two central philosophical points congenial to the theology of Mahādevī: (1) she is ultimate reality itself, and (2) she is the source of all divine manifestations, male and female (but especially female). As saguņa Brahman, the Devī is portrayed as a great cosmic queen enthroned in highest heaven, with a multitude of deities as agents through which she governs the infinite universes.
She is not just an icon to be worshipped; an art object to be curated in a museum, a symbol to be decoded, a metaphor to be pried open, an ancient goddess that is an anthropological curiosity, a goddess whose marriage is a sociological analysis. Perhaps she is all of this but she is much more than the sum of those disciplines. She is chit, our very being, she śakti or the energy that animates us and the world around us; her presence is a doorway to anada or bliss; she is the very embodiment of isaundarya or beauty; not just sensuous but spiritual, a spandana or throb of knowledge through which we seek our own self.
The Kashmir Śaivism, which is strongly advaitic or non-dualistic in nature postulates an unique epistemology or system of knowledge from which emerges a world-view that has underpinned Indian aesthetics for the last millennium. The chitanada (or joyous self-awareness) for the Kashmir Śaivite leads the individual from ‘aham’, “I am” to the initial realization ‘aham idam’, “I am myself”, and then to the ultimate realization ‘aham evam vishvarupam’ “I am the entire world.” In the word ‘aham’, ‘a’ stands for Śiva (puruşa), ‘h’ stand for Pārvatī (prakŗti) and ‘m’ is the bindu or the anusvara. In chanting ‘aham’ one is not only asserting the togetherness of the two elements – puruşa and prakŗti but equally realizing that it is Pārvatī, prakŗti who herself brings the chant to a point of stillness through the bindu.
Practical: The famous astro-physicist Stephen Hawking argues that the universe is created from the gravitational attraction between the (active) matter and the (inactive) non-matter. The non-matter is a residue of the matter, which created distance because of repulsion due to their natural characteristic. As and when the condition changed and they by chance came closer the gravitational force attracted them towards each other and from there Big Bang took place, creating the Universe.
I take the liberty to assume that the presence of the matter and the non-matter together is well represented in the story of Ardhanariśvara; then the separation follows eventually leading to the gravitational attraction of the two opposite nature, as propounded by the Samkhya philosophy of (sexual) duality of conscious (puruşa) and unconscious (prakŗti) elements.
The essence of everything in this universe was Prakŗti, which ‘is inherent in everything but has no shape of its own. It has neither beginning nor end.’ It is the Nature and, exists even without any name or forms (nama-rūpā) as steam exists in water, fire exist in spark. It needs an external inactive force (puruşa) – fire to boil water to create steam and; air to blow spark to produce fire.
According to this practical philosophy, the body was like a plant which germinated from, the seed, grew spread and then withered away; yet, something remained. The seed disappeared from view but produced another plant. The seeds germinated due to the rains but what grew depended on the seed alone; that is, only paddy grew from paddy, not wheat. For a man, a seed was like his karma (action or doing) and Īśvara or God was like the rain, which was the cause of the growth of the plant. A logical inference from this principle was that the Samsār (a chain of appearances) had neither a beginning nor an end.
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